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Wednesday, July 20, 2016

Concert review: Psychedelic Furs, The Church, The Fixx: Costa Mesa, Calif.

photo: Bill Alkofer/OC Register
Watching live music is a good way to take your mind off all the violence and political turmoil around the world lately. That point was driven home by Cy Curnin during the Fixx’s tight O.C. performance.

Sunday night, many concertgoers at the Pacific Amphitheatre partied heartily and relived old school days while listening to classic alt-rock tunes from the ’80s and early ’90s. Former KROQ (and current Sirius XM/JACK FM) DJ Richard Blade made the pre-show proceedings equally fun.

David Bowie’s “Warszawa” served as haunting entrance music for Psych Furs’ 70-minute headlining set, which started with a frantic “India” – the first cut from the group’s 1980 self-titled debut LP. A muddled sound mix left Mars Williams’ squawking sax and Rich Good’s careening guitar work practically inaudible.

Affable singer Richard Butler (pictured above) took awhile to warm up, so his gargling glass-styled lower range was more abrasive than usual. “President Gas” – originally a subtle swipe at Ronald Reagan – felt totally relevant amid a highly divisive election year. Here though, its power was diluted while the kinks were still being ironed out.

The bespectacled Butler, 60, was a bundle of energy: he moved all across the stage, did his trademark spinning in a circle move (especially during a billowy “Heaven”) a few times, shook fans’ hands, playfully leaned on fellow musicians and pogo-ed until the drummer counted songs in.

photo: Bill Alkofer/OC Register
A sublime “Like a Stranger” saw Williams skillfully move between sax and French horn. It was an early standout. The same held true for another “Mirror Moves” album selection, “The Ghost in You.” Butler clutched a rose as his dramatic vocals and Amanda Kramer’s airy synths simultaneously soared.

Gloriously melodic ballad “Angels Don’t Cry” (featuring yet another fierce Williams solo) and the jaunty “Heartbreak Beat” got fans excited. For the encores, the gently churning “Until She Comes” received a surprisingly subdued response, considering the song topped the modern rock radio chart in ’91. The energy level rose considerably for spirited finale “Pretty in Pink.”

Since the Church has been playing its latest album “Further Deeper” and 1982’s “The Blurred Crusade” while on tour, I thought a jangly single from the latter was a shoo-in for Costa Mesa.

photo: Bill Alkofer/OC Register
Instead, the Aussie band opted for the album’s intense epic “You Took.” Their 45-minute allotment encompassed half a dozen expansive selections. On rocking opener “Tantalized,” Peter Koppes and Ian Haug tore through some freak-out guitar work.

For the American hits “Metropolis, frontman Steve Kilbey did a few leg kicks and often played bass low to the ground. The crowd stood to sing along with mild-mannered Kilbey’s wispy vocals amid “Under the Milky Way, while a scintillating “Reptile” saw former Powderfinger member Haug do some mightily impressive fretwork.

The Fixx – the only act on the bill with its classic lineup intact – launched an economical, far-too-brief half hour performance with a spacey “Red Skies” and sounded better than ever. Curnin, possibly referencing the Louisiana police shooting earlier that morning, was a reassuring presence. He said, “In here, we have no problems” before a striking “Are We Ourselves?”

photo: Bill Alkofer/OC Register
Afterward, Curnin prefaced the slinky “Secret Separation” by noting that “we could all really use the love right now. Keep the faith. You know you can” and did a bird-flying-away gesture (which reminded me of something Simon Le Bon also does onstage during "Ordinary World") at the conclusion.

Standouts included the icy new wave drama of “Stand or Fall,” a clanking “One Thing Leads to Another” and “Deeper & Deeper” (both propelled by Jamie West-Oram’s grooving guitar sounds).

Upcoming shows:
Psychedelic Furs
7/21 Santa Monica Pier, Santa Monica, CA 
7/22 Catalyst, Santa Cruz, CA (with The Church)
7/23 UC Theatre, Berkeley, CA (with The Church)
The Fixx
8/14 Embarcadero Marina Park, San Diego, CA (with The B-52's)
8/16 The Roxy, West Hollywood, CA

My review originally appeared at ocregister.com

Tuesday, July 19, 2016

Three Dog Night concert review: Costa Mesa, Calif.

photo by Bill Alkofer/OC Register
Three Dog Night is a familiar sight at the Pacific Amphitheatre during the OC Fair, having performed there several times since the late 2000s. But Thursday night’s solid 85-minute concert proved quite different. This pre-fair show was the classic rock band’s first symphonic one at the venue and modelled after 2002 album “With the London Symphony Orchestra,” released in conjunction with its 35th anniversary.

The lineup now features keyboardist Eddie Reasoner and co-lead vocalist David Morgan. Both joined last year when Cory Wells and Jimmy Greenspoon died. Alongside lone founding member/lead singer Danny Hutton, guitarist Michael Allsup (a mainstay since 1968), bassist Paul Kingery (in service since the ’80s), plus drummer Pat Bautz – the group did a bang up job in Costa Mesa.

Following Pacific Symphony’s introductory “Overture,” containing motifs from past Three Dog Night hits, a breezy “Family of Man” launched the proceedings. Before a seamless “Black and White,” Hutton (a congenial host throughout) asked the older-skewing crowd, “Are you ready to go back to the early ’70s? I don’t remember much about it.” Added classical backing during the No. 1 single (on which Hutton originally sang lead) provided a more elegant flair. Appropriately enough, I spotted young women, flowers-in-hair, sporting ’60s-styled dresses and sunglasses, not unlike ones seen at Coachella.

Morgan’s gritty, Stephen Stills-styled vocals on the acoustic guitar-driven “Never Been to Spain” and Allsup’s multiple guitar solos fared well, as did the energetic full-bodied harmonies of “Shambala.” Hutton dedicated the idyllic Paul Williams penned “Out in the Country” to “nature lovers who like to hike and fish.”

“Easy to Be Hard” – a top 10 hit in 1969 from the Broadway musical “Hair” – saw Hutton savor some vocal one-upmanship with Morgan during the tranquil-to-dramatic buildup. Then Kingery displayed his own impressive soulful grit on Allen Toussaint’s rollicking “Play Something Sweet (Brickyard Blues).” It received a loud response.

Three Dog Night exited the stage as the symphony did an interlude, but quickly returned for Harry Nilsson’s “One” just a few minutes later. Here, Kingery really excelled on vocals. Scattered fans danced while the string section beefed up the drama. Hutton recalled Joe Cocker with his sandpaper delivery on the romantic “Let Me Serenade You,” while the spirited group harmonies amid “Old Fashioned Love Song” made it a standout.

Before doing playful John Hiatt tune “Sure as I’m Sittin’ Here,” Morgan talked about aging and living life to the fullest. Hutton also shared a lengthy story revolving around the good old ’60s days living in star studded Laurel Canyon. Then the band’s intensely psychedelic rock take on Russ Ballard’s “Liar” showed there were no signs of rust from these veterans. More concertgoers stood up to dance when Bautz took over the whimsical lead vocals during Randy Newman’s “Mama Told Me (Not to Come).” The refrain on “Celebrate” was definitely adhered to by fans.

Then sheet music stands were brought out for a riveting encore of “Prayer for the Children,” done a cappella style. The emotional 2009 Three Dog Night single was reminiscent of CSN and worth the price of admission alone. Finally, “Joy to the World” was a jubilant singalong.

My review originally appeared at ocregister.com

Thursday, July 14, 2016

Skinny Lister battle a musical 'Devil'

photo: Claus Morgenstern
I saw this band for the first time last year while opening for Frank Turner at House of Blues Anaheim and was impressed. Read about the latest news from a press release below...

UK six-piece Skinny Lister announce their third studio album titled The Devil, The Heart & The Fight, which will be released by the London-based independent label Xtra Mile Recordings (Frank Turner, Against Me!).

With lead single, ‘Wanted’ – a fiery Elvis-gone-folk roar of an opener that sees frontman Dan Heptinstall saluting London, New York and Cairo in a song about “looking for life in the cities we’d visit” – The Devil, The Heart & The Fight comes out fists first. Check out the video for ‘Wanted’ HERE.

If their folk debut album (Forge & Flagon, 2012) celebrated the sticks and their punkier second (Down On Deptford Broadway, 2015) blinked in the bright lights of London; their rocked-up third, The Devil, The Heart & The Fight sees Skinny Lister going global.


Pieced together while on the road, and recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash.

It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’

A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction: “the devil in me will come for you and you’ll pay the price for not being very nice… you took my life, I’m taking yours, that seems to me a fair trade”.


The Devil, The Heart & The Fight is like Skinny’s previous albums gone backpacking; expanding its horizons, full of adventure, discovering itself and doing things it regrets in the morning. Have heart, ye devils, join the fight.

With the exception of the five weeks recording the album, Skinny Lister have spent the last 18 months on the road touring across the UK, Europe and North America to ever-increasing crowds, often supporting label mate Frank Turner on his arena tours or headlining their own sold out shows across America. 


Tour dates:

November

03 - CHICAGO, IL - Lincoln Hall + Schubas
04 - CLEVELAND, OH - Grog Shop
05 - PONTIAC, MI - The Pike Room
06 - PITTSBURGH, PA - Stage AE (Club)
07 - BOSTON, MA - Middle East Downstairs
09 - NEW YORK, NY - Webster Hall
10 - PHILADELPHIA, PA - The Foundry at the Fillmore Philadelphia
11 - WASHINGTON DC - Rock And Roll Hotel
12 - CHARLOTTE, NC - The Evening Muse
13 - ATLANTA, GA - The Masquerade
15 - NASHVILLE, TN - The Basement East
16 - SPRINGFIELD, MO - Outland Bar
17 - KANSAS CITY, MO - The Riot Room
18 - DENVER, CO - The Bluebird Theater
19 - SALT LAKE CITY, UT - The State Room
20 - BOISE, ID - Neurolux
22 - SEATTLE, WA - Barboza
23 - PORTLAND, OR - Star Theater Portland
25 - SAN FRANCISCO, CA - Bottom of the Hill
27 - SAN DIEGO, CA - Soda Bar
28 - PHOENIX, AZ - The Rebel Lounge
30 - DALLAS, TX - Three Links - Deep Ellum, TX

December

01 - AUSTIN, TX - Stubb's Jr.
02 - HOUSTON, TX - The Secret Group
04 - NEW ORLEANS, LA - House of Blues New Orleans

Track listing:
 

01. Wanted
02. Geordie Lad
03. Tragedy In A Minor
04. Devil In Me
05. Injuries
06. Reunion
07. Beat It From The Chest
08. Hamburg Drunk
09. Grace
10. Charlie
11. Fair Winds & Following Seas
12. Carry

Toad The Wet Sprocket’s Phillips finally sets new solo release

Singer/songwriter Glen Phillips celebrates several milestones this year: the 25th anniversary Toad The Wet Sprocket’s seminal album "fear" and his fourth solo album (and first in a decade) with "Swallowed By The New," available Oct. 7.

Recorded in May 2015 with producer/bass player Paul Bryan (Aimee Mann, Lucinda Williams) and a small backing band, "Swallowed By The New" takes on life’s difficult transitions and delivers some of his most poignant and candid songs ever written.

“I wrote these songs in the difficult first year of [my] divorce process,” explains Glen. “I’m realizing now that everything was done from a place of love. In a period of transition we can feel injured, or use it as an opportunity to change and grow. These songs were the tools I used to get through that period. It’s a lesson I’m still trying to learn.”

"Amnesty," the first single, examines the long journey one takes searching for understanding and a safe harbor. “Home feels a million miles tonight/Hope feels a little hard to find/We're all stumbling towards the light /And we beg to be released/Would you offer amnesty?”

Although the subject matter can be somber, there’s a hopeful look to the future and reassuring tone as Glen describes a husband packing his belongings to begin anew in “Leaving Oldtown”: “I'm leaving Oldtown/With no direction, learning how to be alone/Learning how to stand on my own two feet/I’m getting good now”

“Now that a year has passed, I’m looking back, grateful for the opportunity to start again,” he refelcts. “With children growing up and leaving home, and my marriage dissolving, a chapter of my life was coming to a close. Difficult transitions are challenging, but ultimately rewarding.”

Glen Phillips will tour with summer with Toad The Wet Sprocket before embarking a solo, acoustic tour this fall.

Tour dates:


9/17 Pasadena, CA @ Levitt Pavilion
10/12 Austin, TX @ One World Theatre
10/13 The Woodlands, TX @ Dosey Doe Big Barn
10/15 Dallas, TX @ Kessler Theater w/ Lori McKenna
10/16 San Antonio, TX @ The Tobin Center for the Performing Arts
10/27 Los Angeles, CA @ Hotel Cafe
10/28 Carlsbad, CA @ Museum of Making Music
11/2 Santa Barbara, CA @Soho Restaurant
11/3 Berkeley, CA @ Freight & Salvage
11/4 Felton, CA @ Don Quixote’s
11/5 Sacramento, CA @ Harlow’s
11/6 Novato, CA @ Hopmonk Tavern
11/9 Portland, OR @ The Alberta Rose Theatre
11/10-11 Seattle, WA @ Columbia City Theater
11/12 Spokane, WA @ The Bartlett
11/13 Boise, ID @ The Sapphire Room @ Riverside Hotel
11/15 Salt Lake City, UT @ The State Room
11/19 Denver, CO @ Daniels Hall @ Swallow Hill Music
2/15-2/19 Tampa, FL @ Train’s Sail Across The Sun

Brian Wilson, M. Ward concert review: Hollywood, Calif.

photo by K. Gong/OC Register
Breathtaking moments were plentiful during Brian Wilson’s final Southern California performance of “Pet Sounds” and more on Sunday night.

They mostly revolved around the landmark 1966 Beach Boys album’s intricate arrangements and multi-part harmonies, which were expertly reproduced live. That was no easy task, considering the “Pet Sounds” creative approach was partially modeled after Phil Spector’s Wall of Sound recording technique.

Many musicians onstage at the Hollywood Bowl already knew the material intimately, having been around when Wilson first started doing the entire LP live in the early 2000s and then occasionally amid subsequent tours. Somehow, I always missed those special local shows and greatly anticipated the chance to finally witness it in person.

The current worldwide jaunt celebrates the album’s 50th Anniversary.

Capitol Records just put out a commemorative multi-disc box set featuring previously unreleased live recordings, outtakes, alternative versions, a hardback book and other assorted bells and whistles.

Since its inception, “Pet Sounds” has influenced various musicians, ranging from Paul McCartney (he has said the sonic experimentation of “Sgt. Pepper” was a direct result) to Sameer Gadhia of Irvine alt-rock band Young the Giant (who recently told Consequence of Sound that it gets “us to believe in the magic of songs and wade beyond the borders that have been set for us”).

A new legion of fans has been turned onto the classic pop music lately, thanks to a highly successful 2012 Beach Boys reunion tour including all surviving members (not to mention the underrated studio album “That’s Why God Made the Radio”). Then there was “Love & Mercy” – last year’s Golden Globe-nominated biopic on Wilson’s life starring John Cusack and Paul Dano. The most fascinating scene involved the recording of “Pet Sounds,” which Wilson later said was very accurate. This fall, a new autobiography, “I Am Brian Wilson,” hits stores.

Backed by a 12-piece band comprising former Beach Boys Al Jardine and Blondie Chaplin, Wilson was seated at a white piano toward center stage. He immediately asked how loud the “girls and boys” in the crowd could yell.

The nearly two-hour, sold out show opened with wordless hymn “Our Prayer,” which blended into the upbeat, carnival-like “Heroes and Villains.” A few seconds into a high energy “California Girls,” the audience went wild. Despite a well-publicized history of health issues, Wilson, 74, was mostly lucid, adequate vocally and sporadically played his instrument.

Much of the heavy lifting though came from Al’s son Matt (whose heavenly falsetto is a dead ringer for the late Carl Wilson) and the other younger musicians. “I Get Around” instantly had some people dancing; the harmonies on “Hushabye,” were truly sublime.

Brian Wilson’s song introductions were filled with adolescent wonder. “Don’t Worry Baby” was an early concert highlight. Al Jardine, 73, held his own on self-penned country-tinged shuffle “California Saga: California.” Wilson’s subtle “One Kind of Love” ode to wife Melinda came across nicely; unfortunately, it was the lone selection representing 2015 solo effort “No Pier Pressure” (it’s also on the “Love & Mercy” soundtrack).

Chaplin only appeared on certain songs. He briefly raised the rock quotient with stage strolling electric guitar work (reminiscent of ex-boss Keith Richards) and vocals during an intense “Wild Honey,” yet was a bit shaky for his best-known number, “Sail On, Sailor.”

Diving straight into the complete “Pet Sounds,” the band excelled throughout the original Side 1, especially the glorious “You Still Believe in Me,” an idyllic “Don’t Talk (Put Your Head on My Shoulder),” a highly rhythmic “I’m Waiting for the Day” (kudos to exuberant player Nelson Bragg) and later, the dramatic “I Know There’s an Answer.” A standing ovation greeted the end of "God Only Knows."

Old and young fans jubilantly sang along to a strong “Good Vibrations,” which capped the main set. For the party hearty, seven-song encore, “Pet Sounds” co-lyricist Tony Asher came onstage and played tambourine awhile. Al Jardine delivered a satisfying vocal on “Help Me, Rhonda” (propelled by Paul Mertens snazzy sax work).


Several Wilson family members (including daughter Carnie) arrived to help out on “Barbara Ann.” The fun continued with “Surfin’ U.S.A.” Wilson did his usual tender piano ballad “Love and Mercy” to end the concert and inserted a line to reflect the recent nationwide tension of police custody deaths.

photo by K. Gong/OC Register
M. Ward – like Wilson, a Southern California native – opened the bowl proceedings with a solid 50-minute set backed by a band that included bassist Scott McCaughey (R.E.M., The Minus 5).

Although enticing new album “More Rain” features a cover of the Beach Boys’ “You’re So Good to Me,” he didn’t play it live (Wilson had done it previous tour stops).

Instead, the Portland-based indie folk singer/guitarist offered such new tunes as the shimmering, reverb-drenched “Confession” and swirling, synth-laden “Girl from Conejo Valley.” Each prominently spotlighted Ward’s burnished vocal purr and vigorous electric guitar style; “I Get Ideas” did too.

Zooey Deschanel, Ward's partner in She & Him, livened things up, thanks to some heavenly harmonizing and tambourine on the peppy “Magic Trick,” “Never Had Nobody Like You” and a stark take on Buddy Holly hit “Rave On” (incidentally, both guested on “No Pier Pressure”). 


Other special guests included My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst – Ward’s compatriots on 2009’s “Monsters of Folk” project. They added sprightly guitar and vocals during to the poppy “To Save Me,” the driving “Vincent O’Brien” and strident, synth-driven “Whole Lotta Losing,” where the guys all took turns singing.

Brian Wilson set list

Main set: Our Prayer / Heroes and Villains / River Deep, Mountain High (snippet) / California Girls / Dance Dance Dance / I Get Around / Hushabye / Surfer Girl / Don't Worry Baby /California Saga: California / One Kind of Love / Wild Honey / Sail On, Sailor /Pet Sounds: Wouldn't it Be Nice / You Still Believe in Me / That's Not Me / Don't Talk (Put Your Head on My Shoulder) / I'm Waiting for the Day / Let's Go Away for Awhile / Sloop John B. / God Only Knows / I Know There's an Answer/ Here Today /I Just Wasn't Made for These Times / Pet Sounds / Caroline No (end of Pet Sounds) / Good Vibrations / Encore: Row Row Row Your Boat (snippet) / All Summer Long / Help Me Rhonda / Barbara Ann / Surfin U.S.A. / Fun Fun Fun / Love and Mercy


My review originally appeared at ocregister.com

Saint Motel news

Elektra Records band Saint Motel has announced the release of its full-length label debut album, “saintmotelevision,” due Oct. 21.

Tim Pagnotta (Walk The Moon), Saint Motel’s AJ Jackson and others co-produced. The lead single is set for release on Aug. 12 in conjunction with the album pre-order. Further details will be announced soon. For updates, please see www.saintmotel.com.

Saint Motel will launch a tour in September. Each ticket purchase includes a digital copy of “saintmotelevision” to be delivered on album release, as well as digital delivery of all pre-release instant grat tracks. VIP pre-sales have started, with general on-sales beginning Friday, July 15 – for complete details, please log on to www.saintmotel.com/tour.

In addition to the “Ones To Watch” tour, Saint Motel has also slated summer live dates and festival appearances, including Winter Park, CO’s Divide Music Festival (July 23), Chicago, IL’s Lollapalooza (July 29), Austin, TX’s ACL Music Festival (October 1 and October 8), and New Orleans, LA’s Voodoo Music + Arts Experience (October 29).

“saintmotelevision” follows 2014 label debut EP, “My Type,” highlighted by such singles as “Cold Cold Man” and the breakthrough hit title track. “My Type” – which is also featured on Atlantic Records’ “Paper Towns Soundtrack” – was a top 5 AAA and top 10 Alternative radio hit in the US. The song has garnered over 46 million streams on Spotify and was top 40 in such European countries as Germany, Switzerland, and Italy, where it received platinum sales certification. In addition, the “My Type” companion video – directed by Saint Motel frontman AJ Jackson – has drawn more than 12 million views at the band’s official YouTube channel, www.youtube.com/saintmotelvideo.

Saint Motel came together when AJ Jackson met fellow Southern California film student Aaron Sharp, and together launched a new musical project. Bangkok-born bassist Dak Lerdamornpong and drummer Greg Erwin completed the group, which immediately attracted attention for their striking visual presentations and dynamic indie rock.

Saint Motel has spent much of the past year in the studio and on the road, including high-energy sets at festivals including Indio, CA’s Coachella Valley Music & Arts Festival, Dover, DE’s Firefly Music Festival, George, WA’s Sasquatch! Music Festival, and Manchester, TN’s Bonnaroo Music & Arts Festival. The band has also made major network TV appearances including NBC’s TODAY, CBS’ The Late Late Show with James Corden, ABC’s Jimmy Kimmel Live!, and TBS’ CONAN.

Saint Motel is: AJ Jackson (vocals), Aaron Sharp (guitar), Dak Lerdamornpong (bass), and Greg Erwin (drums).

NORTH AMERICAN TOUR 2016

JULY

16 Montauk, NY The Surf Lodge
23 Winter Park, CO The Divide Music Festival
25 Omaha, NE The Waiting Room
26 Columbia, MO Rose Music Hall
27 Des Moines, IA Wooly’s
29 Chicago, IL Lollapalooza
30 Chicago, IL Lincoln Hall

SEPTEMBER

15 San Diego, CA House of Blues
16 Los Angeles, CA Belasco Theater
17 San Francisco, CA Great American Music Hall
18 Sacramento, CA Ace of Spades
20 Vancouver, BC Commodore Ballroom
21 Seattle, WA Neptune
23 Salt Lake City, UT Complex
26 Phoenix, AZ Crescent
27 Santa Fe, NM Meow Wolf
29 Tulsa, OK Cain’s

OCTOBER

1 Austin, TX ACL Music Festival
4 Houston, TX House of Blues
5 Dallas, TX House of Blues
7 San Antonio, TX Paper Tiger
8 Austin, TX ACL Music Festival
10 St. Louis, MO Delmar Hall
11 Lawrence, KS The Granada
13 Minneapolis, MN Varsity Theater
14 Milwaukee, WI The Rave II
16 Indianapolis, IN Deluxe
17 Cleveland, OH House of Blues
19 Boston, MA Royale
20 Washington, DC 9:30 Club
21 New York, NY Webster Hall
22 Philadelphia, PA Union Transfer
24 Cincinnati, OH Bogart’s
25 Nashville, TN Cannery Ballroom
27 Charlotte, NC The Underground
28 Atlanta, GA The Masquerade
29 New Orleans, LA Voodoo Music + Arts Experience

www.saintmotel.com/tour

Stagecoach Festival 2017 advance sale

This concert is always one of my highlights of the year. Hope I get to cover it again...

The next edition of Stagecoach (Southern California's Country Music Festival) is set for Friday, April 28, Saturday, April 29 and Sunday, April 30, 2017 and marks the event's 11th year at the Empire Polo Club in Indio, CA.

Festival passes will go on advance sale for one day only, Friday, July 15, from 9am PDT to midnight or while limited allotment lasts.

Purchasers can pay in full or use the payment plan. Festival passes can be purchased during the advance sale through stagecoachfestival.com.

The advance sale will be the only opportunity to purchase 3 day GA weekend passes at the advance sale price of $269. Corral Standing Pit passes are $999 and Corral Reserved Seating passes are $899/$1199. All taxes, domestic shipping and fees are included in listed ticket prices. Children 10 and under are free.

For complete festival information, to review reserved seating options or learn about available travel packages, please visit www.stagecoachfestival.com.